The poignancy of the passage from Tschaikowsky is remarkable, and the opening chord, modulating at once to another key than the tonic, produces a feeling of unrest which is further intensified, as the piece proceeds, by harsh dissonances. The quotation from Schumann's Novelette is notable for its brusqueness, and for the roughness of its dissonances. Effects like these would not have been tolerated in Mozart's time, and illustrate the tendency of music to become more personal and to seek to express a wider range of human feeling. A comparison of these two quotations with the opening of the andante by Mozart will reveal how far apart are the ideals of classic and romantic music.

EXAMPLE FOR ANALYSIS, No. 16.

Mozart: Andante from String Quartet[34] in C-major, dedicated to Haydn.

In Chapter IX reference has been made to the influence of Haydn and Mozart on each other. Mozart undoubtedly profited by Haydn's labors in the quartet form, and Haydn, in turn, shows in his latest quartets that he had learned something from his younger contemporary. Ever since this form came into being it has been a favorite one with composers, for in it they are able to express musical ideas in all their purity and divested of extraneous influences. For this reason the quartet became the medium for their most advanced ideas. Both Mozart and Beethoven wrote quartets that were far in advance of their time, and that were subjected to harsh criticism by their contemporaries. The introduction to the quartet from which this andante is taken is a case in point. The harmonies, within the space of a few measures, wander far from the home key, and commit what were then unpardonable sins of cacophony. A brief quotation from the beginning of this introduction is shown in Figure XLV. The harsh dissonances between the A-flat in the first measure of the viola part and the succeeding A-natural in the first violin part should be noted.

(a)

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(b)

FIGURE XLV.